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The Philadelphia Ten: A Women's Artist Group 1917–1945 |
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The book accompanied a traveling exhibition which originated at the Galleries at Moore and traveled to Pittsburgh, Fort Lauderdale, Albany (TX), Concord (MA),Doylestown (PA). Text includes “The Philadelphia Ten: A Women’s Artist Group 1917–1945” by Page Talbott and Patricia Tanis Sydney , an essay on each artist, and extensive notes on 95 works. To purchase call 215-965-4027 About The Philadelphia Ten: An exhibition of 247 paintings, all by women artists trained in Philadelphia, opened on February 17, 1917, at the Art Club of Philadelphia. Included were landscapes—views of Cape Cod, Bermuda, Venice, Arizona, Ravello, Taos, Ireland—accented by a few floral still lifes and an occasional portrait. This little-heralded opening was the first in a nearly thirty-year program by this group, now known as The Philadelphia Ten (although its fluctuating membership eventually included 30 women: 23 painters and 7 sculptors). Soon the group's exhibitions became annual events that critics and collectors could depend upon for consistently high standards and for variety of subject matter and style. The 1920s, the first full decade of the group's association, was a period notable for productive and self-sufficient women artists in every medium. No less dedicated to their art than Colette or Marianne Moore, The Philadelphia Ten were liberated before the term acquired its feminist meaning. Theirs were vigorous, unconventional lives. Many never married. Few had children. Self-promotion, aggressive marketing (the paintings and sculpture were made to be sold) and creative outreach were all components of their exhibitions. These women entrepreneurs showed their work—quite a lot of work (perhaps a total of 3000 pieces)—far and wide, and they made a good living from it. Their achievement provides a model for women in art: for the twenties, for the nineties, for the coming century. Some have suggested that The Philadelphia Ten was formed in response to the Eight of the Ashcan school, and others have proposed a similarity to The Ten from New York and Boston who seceded from the Society of American Artists. More likely, the women's intent was practical: to provide additional venues for their work under conditions that they could control, thereby enhancing their visibility locally and nationally. To that end, they certainly succeeded, receiving positive reviews from the east coast to Texas, Milwaukee, Memphis, and beyond, and attracting eager patrons wherever they went. With nearly 100 paintings and sculptures, the first retrospective of The Philadelphia Ten reproduces the scale and variety of style seen in the original exhibitions. Even more remarkable: it brings together—for the first time ever—representative work by all thirty members of the group. In 1924, critic Arline de Haas wrote that The Philadelphia Ten "stand out as among the foremost women in their line of expression and each one has so created her own atmosphere that her work is suggested with the mention of her name." It is the purpose of this exhibition that the mention of the names of these outstanding women artists should once again bring recognition and appreciation. |
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Painters of the Philadelphia Ten |
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Galleries Directory | Levy Gallery Artists Registry | Publications & Artists | Email Moore College of Art and Design |
(Fussell)
| For more on contemporary artists, we recommend these websites:
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World Wide Arts Resource |
 Artext |
 Artnet |
 The Levy Gallery Artists Registry |
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